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Full text of "Pennsylvania Museum Bulletin. Number 46, April 1914"

BULLetlN OF 

THe PGNNSYIMNIA 
MUSeUM 






MeMORlAL HALL 

FAIRMOUNT PARIC 

PHILADGLPHIA 

P UB LI S HGD QjUARTGRLY BY TH6 
PeNNSYLVAMA MaseUM AND 
SCHOOL OF INDUSTRIAL ART- 



SUBSCRIPTION QNe DOIiAR YG\RLY 



APRll»l* 



Bateied. Auiuat 97, 1903, at FhiUdelphia. Fa., at Seooad-Clau Matter, under Act of CcDgKsa of July 16, 1894 



PENNSYLVANIA MUSEUM 

AND SCHOOL OF INDUSTRIAL ART 



®oar& of ^trustees 

The Governor of the State, Ex-Of. The Mayor of the City, Ex-Of. 

Charles Bond Mrs. John Harrison John W. Pepper 

James Butterworth Thomas Skelton Harrison Theodore C. Search 

John G. Carruth John Story Jenks Edgar V. Seeler 

Thomas Dolan John H. McPadden Edward T. Stotesbury 

Harrington Fitzgerald John D. McIlhenny William Wood 

Charles H. Harding John T. Morris 



©fficcre 

THEODORE C. SEARCH, President 
JOHN STORY JENKS, 



JOHN G. CARRUTH, '^i<^'-P'''^d'^^' 
JAMES BUTTERWORTH, Treasurer 
EDWIN ATLEE BARBER, Secretary 
LESLIE W. MILLER, Principal of the School 



EDWIN ATLEE BARBER, Editor 



Bulletin 



fox aprll Bltnctcen THunbreb ant> fourteen 
CONTENTS 

PACB 

Tanagra Statuettes, by Mrs. Cornelius Stevenson 19 

Recent Accessions of Pottery and Porcelain, by Edvmi A. Barber . 20 

Bowl of Madrepore Glass, by Mrs. Cornelius Stevenson 25 

Carved Red Lacquer Vase 28 

Memorial Resolutions 29 

Notes 30 

Accessions 33 

General Information 34 



BULLETIN 

OF 

THE PENNSYLVANIA MUSEUM 



APRIL, 1914 



TWELFTH YEAR 



Number 46 



TANAGRA STATUETTES 

A series of three Tanagra statuettes, the gift of Mr. F. R. Kaldenberg, 
have been added to the small illustrative archaeological collections of the 
Pennsylvania Musevim. They are very charming specimens and the photo- 
graphic reproductions hardly do them justice. Considerable coloring remains 




Tanagra Figurines, Fourth Century 



to indicate the taste of the period; and their grace and charm make of them a 
delightful addition to the classical series. 

In the exquisite statuettes found at Tanagra and at other points in Greek 
lands may be found the most attractive characteristic specimens of Hellenic 
art in the fourth century B. C. They represent types of the people, their 



20 BULLETIN OF THE PENNSYLVANIA MUSEUM 

costumes, their manners. The young girl draped in a mantle, wearing a hat 
or bare-headed, her hair done in the style of the time, is a common subject, 
so common, indeed, that the figurine maker from whose artistic hands came 
these dainty figures was called in Greek Koroplastes, "girl modeler." Although 
usually found in tombs, figures of deities are rarely present among them. They 
mostly represent domestic scenes, girls talking or dancing, singly or in groups; 
animals, etc. Only occasionally are foimd examples of Eros or Aphrodite. 
Some of the figurines are jointed and many are obviously intended for toys. 
They usually are colored, as were the specimens here reproduced, the coloring 
having been applied directly to the clay as it came from the mould. Some are 
glazed. 

One of the best collections of these charming objects is in the British 
Musetrai. Among these are a few- which were reproduced from well-known 
statues of the time. 

These figurines are interesting as showing some of the fashions of the 
women of the fourth century B. C. The protective headdress of the first 
figure reproduced is not uncommonly seen and the drapery of the mantle cover- 
ing head and person is well shown. The delicacy of the drapery is partly lost 
and the lithe grace of the central figure fails to appear to advantage. In the 
original the drapery is blue, and in all the figures traces of their pristine delicate 
coloring in flesh and drapery are preserved. 

Tanagra, town of Boeotia, north of Athens, already flourished about 426 
B. C. It was situated on the Channel of Egripos formed by the Island of 
Euboea off the coast of Greece. 

It is dangerous for a layman to invest in these fascinating figurines, as 
they seem to be easy of imitation, and even connoisseurs have been taken in 
by the accuracy of every reproduced detail in the counterfeits sold to certain 
museum authorities. 

S. Y. S. 



RECENT ACCESSIONS OF POTTERY AND PORCELAIN 

A rare example of old Philadelphia porcelain, the gift of Mr. John T. 
Morris, has been added to the American collection. It is a large water pitcher 
of hard paste, made at the Tucker and Hemphill factory about 1835. Around 
the body are hunters and horses and dogs in white relief. Above is a band 
containing a wreath of painted flowers, in natural colors, while at the top is a 
magenta border bearing a purple vine. The relief design was evidentl}^ an 
adaptation of the hunting scene so popular with many of the English potters 
of the early nineteenth century. Josiah Spode, William Adams, John Turner, 
the Davenports, Hollins and others used it on white stoneware jugs between 
1800 and 1820. It also appeared on the porcelain of Worcester and perhaps 
other factories. The Staffordshire potters copied from each other and the 
American manufacturers appropriated the same designs. Wliile the Tucker 
and Hemphill porcelain was made in considerable quantities covering the 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



21 



period from 1825 to 1838, examples with relief decoration are exceedingly rare 
at the present day. Only one other specimen of this pattern is known, and 
that is owned by a descendant of one of the manufacturers. 

The Museum has received, as a gift from Mrs. Hampton L. Carson, two 
hard paste bisque plaques, five and a half inches in diameter, from the Konigliche 
Porzellan-Manufaktur of Berlin, one bearing the relief portrait bust of Frederick 
the Great, the other that of Frederick William II. The circular frames sur- 
rounding the busts are glazed and separated from the centers bv heavy gold 




Hard Paste Porcelain Pitcher 
Made by Tucker and Hemphill, Philadelphia, about 1835 

lines. The portrait of Frederick the Great is marked in the paste with the 
name of J. G. Miiller and the date 1785. That of Frederick William II bears 
the same name and date. Johann Georg Miiller was a modeler at the factory 
from 1763 to 1789, and during the foixr years from 1785 he occupied the posi- 
tion of "model master" of the factory. 

The exact year when these plaques were produced is not known, despite 
the date which appears upon them, since the old moulds have been used con- 
tinuously until recent times, but their marks indicate that the pieces could 



22 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



not have been made after 1837, since the slender hand-painted sceptre in blue, 
which is found on them, was only used from 1763 to 1837. In the latter year 
the sceptre mark became thicker and was applied with a stamp. So far as 
may be judged by the fine quality of the paste and the sharpness of the model- 
ing, these particular examples were among the first produced, in or soon after 
the year in which they are dated. Miiller also executed at the same time a 
portrait relief of Frederika Louisa, wife of Frederick William II. 

The collection of American pottery has been increased by a choice lot of 
pitchers and other objects made by Edwin Bennett at Baltimore, Md., between 
1851 and 1860. This ware is particularly interesting to collectors for two 
reasons; First, because it illustrates the best work in modeling of American 
potters of the middle of the nineteenth century, and second, because the glazes 
and frequently the forms of the pieces bear a close resemblance, if not relation- 




Hard Porcelain Bisque Plaques 
Portraits of Frederick the Great and Frederick William II, Berlin Factory, 17S6 



ship, to the Bennington "Flint Enameled" ware, now so highly prized and 
eagerly sought for. 

Edwin Bennett was at the time of his death, in 1908, the Nestor of American 
potters. In 1846 he was associated with his brother, James Bennett, at 
Birmingham, Pittsburgh, Pa. In 1851 he moved to Baltimore and established 
a pottery there, taking into partnership for a few years another brother, 
William. He at once began the manufacture of many popular patterns in 
teapots, pitchers, jardinieres, and other household articles, some of which 
appear to have served as the models for Bennington designs. He also intro- 
duced feldspar and flint into his glazes which rendered them exceedingly hard, 
and he used various colors to produce mottled effects, such as pale olive green, 
brown, black, mahogany, red and blue, as in the Bennington flint enameled 
wares of the same period, so that it is frequently difficult to distinguish one 



i 



i 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



23 




Ale Pitchers, Mottled Brown Glaze 
By Edwin Bennett, about 1852 




'Rebekah at the Well" Teapot and "Rose Bud' 
By Edwin Bennett, 1852 



Teapot 



24 



BULLETIN OF THE PENNSYLVANIA MUSEUM 




Hound Handled Hunting Pitcher 
By Edwin Bennett, about 1S52 




Enormous Cider Pitcher, by Edwin Bennett 

"Flint Enameled" Pitcher, Bennington, Vt. 

All made about 1853 



BULLETIN OF THE PENNSYLVANIA MUSEUM 25 

product from the other, except by the patterns which have been identified. 
Indeed the Bennett glazes were fully equal to the Bennington in brilliancy 
and lusciousness and frequently svupassed the latter in these qualities. It is 
now known that many objects heretofore attributed to the Bennington works 
were in reality made in Baltimore. 

In the little group of Edwin Bennett's pottery, recently installed next to 
the Bennington collection, are two large ale pitchers, one with hunting scenes 
on the sides, the other with figures of storks standing amid reeds. Each of 
these has a closed spout perforated with small holes at the end and connected 
with the base of the interior by a tube, for the purpose of separating the froth 
from the liquor when being poured out. 

In 1852 the "Rebekah at the Well" teapot was first produced at the 
Bennett works, and this became so popular that it was copied by nearly every 
important pottery in the country and is still being made. The design was 
an adaptation of a Staffordshire pattern of a few years earlier. One of the 
earlier examples, with reliefs covered with green glaze, on a reddish-brown 
ground, is here shown. The teapot with rose-bud decoration in relief was 
evidently taken from an earlier model used at the Jersey City Pottery. 

Edwin Bennett also made a game pitcher with hound handle, decorated on 
one side by the figure of a hunter with his dog, and on the other with a tree and 
birds. The most important pieces in the group, however, are a gigantic pitcher 
of the Bennington type, composed of eight guttered sides with polychrome 
mottling, and an enormous jardiniere with relief ornamentation of grapes and 
vines. The glazes on all of these are exceedingly heavy, rich and mellow. 

E. A. B. 



BOWL OF ROMAN MADREPORE GLASS 

The dealer of whom the little bowl which now interests us was purchased, 
says that its immediate provenance was Hebron, Syria. Indeed, there and 
in the vicinity glass is still manufactured by primitive processes. Some 
specimens have found their way into Egyptian collections of antiquities, so 
closely do they resemble ancient wares. Here, therefore, we have an industry 
that has survived from very ancient times. 

The Romans learned the art of glass-making from the Alexandrians. Cicero 
speaks of glass as merchandise from Egypt brought over together with paper 
and linen. On the other hand, Strabo, writing under Augustus, says that 
"every day at Rome some new processes for coloring were invented, so that a 
successful imitation of crystal may now be made so cheaply that a drinking 
glass with its stand can be sold for a Copper coin" (XVI, 25). 

In the first century B . C. glass was a new industry in Italy that was feeling its 
way. There were no ancient Hellenic traditions on the subject and thus it came 
to pass that the art became essentially known as Roman. This genesis probably 
must account for the paucity of details found in Roman Hterature — for instance, 
in Pliny's account. There were no Greek authorities to fall back upon. 



26 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



Roman glass was manufactured for a period of about four hundred years, 
at one time or another at nearly every point of the Empire, from Syria to Spain 
and to Britain. It has been found even in tombs of northern tribes never 
subdued by Roman armies, such as in Denmark and Sweden. There is scarcely 
one application of glass known in Etu-ope in the eighteenth century that was 
not known to the Romans; and the latter knew and were masters of the deco- 
rative processes, although they did not produce the beautiful translucent ruby 
glass that is one of the glories of European mediseval art. 




RoM.\N Madrepore Gl.\ss Bowl 



Froehner in his catalogue of the Charvet collection divided Roman glass 
into fifteen classes; but these are arbitrary divisions and he and others have 
failed in any attempt at geographical classification. One division, however, 
which, by the way, can hardly be called Roman, as it is a development of the 
"fused mosaic" glass of the ancient Egyptians worked out on a large scale and 
used for objects other than fiat slabs and fragments for inlay, is the "mille- 
fiori " found in Rome and in the tombs of Central and Southern Italy. It forms 
a transition from the primitive Egyptian form to the true blown glass of 
imperial Rome. Many specimens of this beautiful glass are to be seen in the 
fine collection of 1600 fragments in the Pennsylvania Museum, made by Dr. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 27 

Robert H. Lambom.i There are different types — one is the madrepore (or coral- 
Hne) , white rolls set in translucent green or purple, to which our specimen belongs 
— exceptional is the style of the bowl from Crete in the British Museimi, which 
is opaque rich blue with yellow, red and green rosettes. Another style is short 
rolled scrolls of opaque white, in a more or less translucent ground, interspersed 
with a few quadrangular masses of gilt glass, probably in imitation of some 
fossiliferous lumachella marble at some time in vogue in Alexandria. 

These bowls are built up of more or less spirally arranged fragments of 
glass mosaic, the pieces having been cut from a cane of glass, itself formed 
of minute rods as in the case of Egyptian "fused mosaics." These pieces are 
arranged in a mould in a coil starting from the center, but how far if at all 
during the subsequent partial fusion they were subjected to any blowing opera- 
tion is a disputed point. In any case the final effect is the result of an elaborate 
process of cutting on the wheel and subsequent polishing. The pieces are 
arranged with studied irregularity to mask the spiral arrangement, and variety 
is obtained by oblique setting to the surface. It is only seldom, if ever, that 
any trace of distortion occurs, which would be caused by the blowing tube. 
Some are so disposed as to imitate endless varieties of agathe or of breccia. 
One variety imitates amethyst quartz ; but here as elsewhere rich combinations 
of color quite unnatural are introduced. Meandering bands of emerald green, 
powdered with gold, divided with lines of white and blue appear on an alabastron 
from Sidon. Of this peacock fashion examples appear in the collections of the 
British Museum, the South Kensington Museum, and Greau, the latter of 
which the late J. P. Morgan bought en bloc. In the Gregoriano Museum 
(Greg. XVI) in the Vatican are a series of bowls from Greek and Etruscan 
tombs; a large one also may be studied in the Industrial Museimi of Vienna, 
and the Charvet collection in America (Metropolitan Museum) .« In one case 
there is an approach to the Champleve enamel process, only with glass base 
instead of enamel. Some rare examples show a ribbon of gold around the 
design, suggesting the cloisonne enamels of Bj^zantine jewelry. In some frag- 
ments in the Pennsylvania Museum the mosaic work runs through the thick- 
ness of the glass. The Romans colored with iron, copper, manganese and 
antimony oxides, as did the Egyptians; to those ancient materials they added 
cobalt. As already mentioned, they had no translucent ruby red. This, 
derived from gold or copper oxide, became known to alchemists of mediaeval 
times. No example exists of classic days. Hyacinth and sard, honey or 
brownish tints were the nearest approach to it. Opaque red glass obtained 
from oxide of copper and some oxide of tin was prized by the Romans. 

In the present bowl the madrepore or coralline rolls are imbedded in 
translucent purple ground shading in places to translucent green. 

Taken in connection with the fine and extensive collection of fragments 
bequeathed by Dr. Robert H. Lambom to the Pennsylvania Museum, the 
present acquisition is of serious educational value as an entire specimen of this 
interesting industry. 
■ S. Y. R^ 

1 See Bulletin of the PENNSYLVAxrA Museum. April. 1908. p I 7. 

2 See "Glass," by Edward Dillon. Chapter 11. 1907 



28 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



CARVED RED LACQUER VASE 

The best carved lacquer was produced at the Imperial Factories in Peking, 
during the reign of Ch'ien-lung (1736-1795), and is for that reason usually 
known as Peking lacquer. Carved lacquers are of various colors. The red 
lacquer derives its color from powdered red sulphide of mercury, or cinnabar, 




Chinese Vase 
Carved Red Cinnabar Lacquer 

and is frequently called cinnabar lacquer. Occasionally the red is used in combi- 
nation with other colors, as black, buff or brown. One of the striking features 
of the red lacquer is the delicate carving of the sunken ground-work in diaper 
patterns, similar to those which are found on Chinese porcelains. 



i 



BULLETIN OF THE PENNSYLVANIA MUSEUM 29 

Several fine examples of Chinese carved red lacquer have recently been 
added to the Museum collection. One of these is a large vase with four quad- 
rilateral panels containing a figure scene. Another is a small circular box with 
cover, similarly, but even more elaborately, sculptured. The Chinese excelled 
in this style of work, but in gold lacquering the Japanese were pre-eminent. 



MEMORIAL RESOLUTIONS 

At a recent meeting of the Executive Committee of the Board of Trustees 
of the Pennsylvania Museum and School of Industrial Art the following Resolu- 
tions were adopted: 

The Trustees of the Pennsylvania Museum and School 
of Industrial Art desire to express their profound sorrow for 
the death of their associate, Charles Edmund Dana, which 
occurred on February 1, 1914. 

Mr. Dana's connection with the Pennsj'lvania Museum 
and School of Industrial Art extended almost uninterruptedly 
over a period of thirty-two years. In 1884 he became a 
member of the Committee on Instruction of the School, and 
in 1895 he was elected chairman of the Art Committee of 
the Museum, which positions he continued to occupy, with a 
few brief interruptions, imtil his death. As a member of these committees and 
of the Executive Committee he rendered valuable services for many years, and 
was always ready to contribute his time and his broad knowledge on art sub- 
jects for the benefit of the Institution. 

To the subjects of heraldry, arms and armor, tapestries and stained glass, 
Mr. Dana devoted especial attention. In all of these departments he was 
regarded as an authority and his advice was constantly being sought. One 
of the last acts of his life was the supervision of an educational exhibit illus- 
trating the various processes employed in the manufacture of stained glass 
windows, which has been installed in the Museum near the Lewis collection 
of Swiss household glass. 

As a member of the various bodies with which he was connected, Mr. 
Dana's actions were always dictated by a faithful desire to advance the common 
welfare. His approbation of work done at the Museimi or the School was 
always received with confidence that the best judgment had been exercised, 
and his criticisms were always regarded as a surety that the work in question 
needed further careful consideration. 

Mr. Dana was a man of noble impulse and by his earnestness of purpose 
greatly advanced the work of art training in this country. 

By his death this Institution loses one of the most active members 
of its Board of Trustees and one of its most accompHshed and versatile 
instructors, and the community at large one of its ablest members and fore- 
most citizens. 




30 BULLETIN OF THE PENNSYLVANIA MUSEUM 

BOOK REVIEW 

Chinesisches Porzellan, Seine Geschichte, Kunst und Technik, von Prof. 

Dr. Ernst Zimmermann, Direktor der Konigl. Porzellansammlung in 

Dresden. 

This important work on Chinese Porcelains, in two quarto volumes, by 
Dr. Zimmermann of the Johanneum Museum in Dresden, has recently been 
issued by Messrs. Klinkhardt & Biermann, of Leipzig. The author is one of 
the foremost authorities on this subject, as well as on the red stoneware of 
Johann Friedrich Bottger, which was produced early in the eighteenth century in 
imitation of the Chinese red Boccaro ware, the forerunner of Meissen porcelain. 

In preparing this book, Dr. Zimmermann's piorpose was to bring together 
all facts and data relating to Chinese porcelains, so far as they are known to 
the present time, in order to obtain as clear an understanding of the whole 
subject as possible. The work is based on material obtained from Chinese 
sources, relating to the history and technique of porcelain, as well as on the 
best examples to be found in well-known collections. 

In the first volume. Chapter I deals with the earliest sources of informa- 
tion, historical and technical, such as the letters of Pere d'Entrecolles, Stanislas 
Julien's translations of Chinese writings, and the works of Dr. Bushell. The 
various large collections of Chinese porcelains, both in Europe and America, 
of which that in the Johannetun is one of the most important, are mentioned. 
It is pointed out that the United States seems to have shown a special taste for 
the colored glazes, and with the exception of China, there is probably no other 
■country having such fine collections of this particular variety of Chinese ware. 

Chapter II consists of a detailed history of the development of Chinese 
porcelains from the earliest times down to the present day, the products of 
each dynasty and reign being treated in turn. 

Chapter III treats of the technique of Chinese porcelains, the materials used 
in the preparation of the paste, the modeling, glazing, firing, and decoration, 
and several pages are devoted to a discussion of the artistic side of the subject. 

The second volume contains 140 plates illustrating nearly 300 character- 
istic examples from prominent collections, including eight plates beautifully 
printed in colors. An appendix treats fully of Chinese marks, followed by a 
bibliography. A carefully prepared Index, a rare feature in European publi- 
cations of this character, adds practical value to a work, which in itself is 
authoritative and comprehensive in scope. 



NOTES 

Cover Design — The cover design for this issue of the Bulletin has been 
executed by a student of the School. 

* * * 

New. Cases — Several new cases have been completed for the Bloomfield 
Moore collection, and the central floor cases in both rooms have been entirely 
relined, much to the improvement of their rearranged contents. 



BULLETIN OF THE PENNSYLVANIA MUSEUM 31 

Attendance — On Sunday, March 15, 1914, 7,200 people visited the 
Museum between the hours of 1.00 and 5.00 p. m. The attendance for the 
quarter ending March 31, 1914, was 52,465. 

* * * 

Membership — New members have been elected as follows: Patron 
Members — Mr. Thomas Dolan, Mr. John H. McFadden, Col. Thomas Skelton 
Harrison, Miss Fannie S. Magee. Fellowship Member — Miss Nina Lea. 
Annual Members — Mrs Frederick C. Durant, Mrs. Rodman E. Griscom, Mrs. 
Edward T. Stotesbury, Mrs. Charlemagne Tower, Mrs. William H. Walbaum, 
Mr. Charles J. Bender, Mr. Charles C. Butterworth, Mr. A. L. Diament, Mr. 
B. W. Fleisher, Mr. Otto Haas, Mr. Samuel Homer, Jr., Mr. Joseph T. Kinsley, 
Mr. Albert W. Morton, Mr. Artemas P. Richardson. 

* * * 

School Notes — The Germantown Library Association and Historic 
Society, in memory of Miss Hannah Zell, its founder, who was for so many 
years a member of the Associate Committee of Women here, has presented 
eighty-six books to the Alumni Association. 

Mrs. Fuller (Meta Vaux Warrick), a former student of the School, has 
designed, and is to have cast in bronze, a group of life-size figures representing 
the "Emancipation" of her race, to be erected in New York City. The model 
was exhibited there at the recent Emancipation celebration and attracted so 
much attention the committee decided to have it put in permanent form. Mrs. 
Fuller after her graduation went to Paris and studied with Rodin, who at one 
time greatly influenced her work. The present subject is entirely in her own 
manner, and is a virile composition. 

Further experiments in the School pottery kiln have given excellent results 
in new glazes and in obtaining certain color eff'ects for use in the sgraffito work 
which it is the purpose of the department to develop. The stoneware has been 
improved in form and the decoration better adapted to the extremely simple 
process of firing and finishing. 

The recognition of the practical character of the illustration material 
produced in the class under Mr. Everett, has been very marked during the 
last few months. The Century, St. Nicholas, MacMillan's and other publica- 
tions have purchased and ordered several series for the magazines. The studio, 
formerly occupied by Maxfield Parrish when he was here in charge of the class 
in interior decoration, has been set aside for those students who are prepared 
to do professional work, and this enables them to pursue their course under 
the guidance of the teacher. 

Mr. Sinnock is completing a large decorative panel representing "Roman 
Building," painted in oil for the south wall of the architectural room. It is 
done as a preliminary to his journey to Italy, where he goes in June to study 
decorative painting, as the holder of the Mrs. James Mifflin foreign scholarship. 

A summer session of certain classes in the Art Department is contemplated, 
as numerous applications are every year received from teachers and special 
students unable to enroll at the regular season. This would be held in the 
month of July, and would be under the direction of Mr. Ege. The work would 



32 



BULLETIN OF THE PENNSYLVANIA MUSEUM 



be chiefly in relation to the needs of teachers of art, and especially to their 
aesthetic development in the sense of form, color and design. The practical 
application of the principles of art would be demonstrated by a study of 
materials and the methods of their use, by the work done in the craft classes 
of the department, and by examples in the Museum collections. In view of 
this being the first season a class from the School goes abroad for study, it 
seems particularly appropriate that classes here should be organized at the 
same time. 

The classes in Nature Study, under the direction of Miss Bradley, have 
enjoyed this season special opportunities for study. The Superintendent of 
the Zoological Gardens has provided free passes for all the students, and gifts 
of stuffed birds and small animals have been made, as well as loans of living 
specimens, and gifts of several aquariiams of gold fish. Mr. John T. Morris, 
the Countess Santa Eulalia and many others have contributed to the collec- 
tion. The work is assuming considerable importance in relation to the classes 
in illustration and design. 




ACCESSIONS 

January — March, 1914 



CLASS 



Carvings 
Ceramics 



Enamels 



Furniture and 
Woodwork 



Glass 



Lacquers 
Metal work 



Textiles 
Miscellaneous 



OBJECT 



HOW ACQUIRED 



Carved Steatite Figure Group, and 3 J9.de Bracelets, 
Chinese ' 

Collection of 33 Pieces of Pottery and Porcelain of 

Various Countries ' 

I 

9 Pieces of Glazed Pottery, Made by the Edwin 
Bennett Pottery Co.. Baltimore, Md., 1852-1853. . 



3 Terra Cotta Figurines, Fourth Century 

Collection of 65 Pieces of Old Chinese Porcelain. 



Old English Pottery Pitcher. 3 French Vases, and 2 
Chinese Porcelain Bowls 



Porcelain Pitcher with Hunting Scenes in Relief, Made 
by Tucker & Hemphill, Philadelphia, c. 1832 



Pair of Wall Vases and Figure Group, Whieldon Ware, 
Staffordshire, England, c. 1 765 



Limoges Enamel, Catherine de Lorraine, Duchesse de 
Montpensier 



Large Cloisonne Enamel Vase, Chinese 

Cloisonn^ Enamel Incense Burner. Chinese. 



Large Wooden Chest, Linenfold Panels, Sixteenth 
Century 

Tall Hall Clock, Mahogany, Eighteenth Century. . . . 

2 Chippendale Chairs and Secretary Desk, Eighteenth 
Centurj'' 



Mahogany and GUt Wall Mirror, American, c. 1800. 

Wooden Box with Painted Decoration, The Tyrol, 
Austria (Given by Miss Nina Lea) 



TJm-shaped Clock, Marble and Ormolu, French, 
Period of Louis XVI 



Mahogany Bureau, Bedstead, Wardrobe, and 2 Chairs, 
Empire Style, c. 1840 

5 Pieces of Glass 



Glass Cup Plate with Portrait Busts of Victoria and 
Albert, Probably English 



Pair of Hurricane Shades, American, c. 1800 

Madrepore Glass Bowl, Roman, Fourth Century 

40 Wooden Chessmen and Chess Board, Lacquered, 
Japanese 



Pair of Sheffield Candlesticks. American 

3 Antique Wrought Iron Locks and Keys, Nuremberg, 
Germany 



Picture Embroidered on Satin. 
Set of Japanese Playing Cards . 



Lent by Mrs. Edward G. Low. 
Lent by Dr. Edwin A. Barber, 

Lent by the Edwin Bennett Pottery 

Company. 

Given by Mr. F. R. Kaldenberg. 
Lent by Mrs. Edward G. Low. 

Given by Mrs. Frederick T. Mason. 

Given by Mr. John T. Morris. 

Lent by Mr. Frederick J. Williamson. 

Lent by Mrs. Charles M. Lea. 
Lent by Mrs. Edward G. Low. 
Lent by Mr. Cornelius Stevenson. 

Lent by Mr. John D. Mcllhenny. 
Given by Mrs. Frederick T. Mason. 

Lent by the School of Industrial Art. 

Bequest of Miss Anna P. Stevenson. 

Lent by Mr. Cornelius Stevenson. 
Lent by Dr. Edwin A. Barber. 

Lent by Mr. Francis H. Bigelow. 
Given by Mrs. Frederick T. Mason. 
By Purchase. 

Lent by Mr. James F. Magee, Jr. 
Given by Mrs. Frederick T. Mason. 

By Purchase. 

Given by Mrs. Frederick T. Mason. 

Lent by Mr. James F. Magee, Jr. 



MEMBERSHIP 

The Trustees of the Pennsylvania Museum 
and School of Industrial Art desire the 
active co-operation of all public-spirited 
citizens who are known to be in sympathy 
with its educational work. All such persons 
are invited to become members. 

CLASSIFICATION OF MEMBERS 

Patrons — Those who contribute the sum 
of $5000 or more whether in money or 
objects for the Museum. 

Fellowship Members — Those who con- 
tribute 1 1000 at one time. 

Life Members — Those who contribute the 
sum of $100 or more at one time. 

Annual Members — Those who contribute 
not less than $10 yearly. 

The contributions received from Patrons 
($5000), and from Life Members ($100), are 
added to the permanent Endowment Fund. 
Contributions from Annual Members ($10) 
are used to the best advantage in the de- 
velopment of the Museum and the School. 

ADVANTAGES OF MEMBERSHIP 

All members are entitled to the following 
benefits: 

The right to vote and transact business 
at the Annual Meeting. 

Invitations to all general receptions and 
exhibitions held at the Museum and the 
School. 

Free access to the Museum and School 
Libraries and admission to all lectures. 

Also a copy of each of the following pub- 
lications : 

The Annual Report of the Corporation. 

The Annual Circulars of the School of 
Applied Art and the Philadelphia Textile 
School. 

The Art Handbooks and Art Primers, 
issued from time to time by the Museum 
(a printed list of publications will be mailed 
to any member on application). 

The Illustrated Quarterly Bulletin of the 
Museum. 

A list of members is published each year 
in the Annual Report. 

Applications for membership, and remit- 
tances should be sent to The Secretary, 
P. M. & S. I. A., Memorial Hall, Fairmount 
Park, Philadelphia, Pa. 

HOURS OF ADMISSION 

The Museum is open, free to the public 
every day in the year. 
Opening Hours: 
Mondays at 12 M. 
Other Week Days at 9.30 A. M. 
Sundays at 1 P. M. 
Closing Hours: 

During the summer months, 5 P. M. 

(Sundays, 6 P. M.) 
During the winter months, a half hour 
before sunset. 



CATALOGUES, HANDBOOKS, ETC. 

(On sale at the South Entrance) 

Handbook of the Museum $0.25- 

A Brief History of the Bayeux Tapestry . 10 
Cork Models of Windsor Castle, Tower 
of London, Westminster Abbey, 

Church of St. Peter, Rome 10' 

The Great Seals of England 25- 

Handbook of the Collection of Tulip 
Ware of the Pennsylvania-German 
Potters: 

Paper cover 1 . 00 

Large paper edition. Cloth 5 . 00 

Handbook of the Maiolica of Mexico: 

Paper cover 1 . 00 

Flexible Art Canvas 2 . 00 

Art Primer No. 3, Lead Glazed Pottery .50 
Art Primer No. 5, Tin Enameled Pot- 
tery 50' 

Art Primer No. 6, Salt Glazed Stone- 
ware 50 

Art Primer No. 9, Hard Paste Porce- 
lain 50 

Art Primer No. 11, Artificial Soft Paste 

Porcelain 50 

Bulletin of the Pennsylvania Museum 
(quarterly) , per annum 1 . 00 



Friends of the Institution who desire 
to devise to it money should use the fol- 
lowing : 

Form of Bequest 

I give and bequeath unto the Pennsyl- 
vania Museum and School of Industrial Art 

the sum of dollars 

for the use of the said Corporation. 

Witnesses 



Form of Devise of Real Estate 

I give and devise unto the Pennsylvaiiia 
Museum and School of Industrial Art, its 
successors and assigns, all that certain (here 
insert a description of the property) for the 
use of the said Corporation. 



Witnesses.. 



PENNSYLVANIA MUSEUM 

AND SCHOOL OF INDUSTRIAL ART 

UtJSBina COMMITTEE 

John Story Jenks, Chairman Edgar V. Seeler 

Thomas Skelton Harrison Mrs. W. T. Carter 

John H. McFadden Mrs. W. D. Frishmuth 

John D. McIlhenny Mrs. John Harrison 

John T. Morris Miss Fannie S. Magee 

John W. Pepper Miss Elizabeth C. Roberts 
Mrs. Thomas Roberts, Ex-Offxio 

Edwin AtLee Barber, Director of the Museum 

Mrs. Cornelius Stevenson, Assistant Curator and Lecturer 

EOirOBAST CUBiLTOBS 

Textiles, Lace and Embroidery Mrs. John Harrison 

Oriental Pottery Mrs. Jones Wister 

European Porcelain Rev. Alfred Duane Pell 

Arms and Armor Cornelius Stevenson 

Furniture and Woodwork Gustav Ketterer 

Musical Instruments Mrs. W. D. Frishmuth 

Numismatics P. D. Langenheim 

Sculpture, Marbles and Casts Alexander Stirling Calder 

INSTRUCHOH COMMTTTES 

Theodore C. Search, Chairman Mrs. Rodman B. Ellison 

Charles Bond Mrs. F. K. Hipple 

Charles H. Harding Miss Nina Lea 

Thomas Skelton Harrison Mrs. Joseph F. Sinnott 

John Story Jenks Mrs. C. Shillard Smith 

John D. McIlhenny Mrs. John Wister 

Edgar V. Seeler Mrs. Jones Wister 
William Wood 

Mrs. Thomas Roberts, Ex-Officio 

ASSOCIATE COMUITTEB OF WOUBK TO THE BOASS OF TRUSTEES 

President 
Mrs. Thomas Roberts 
Fiist Vice-President Second Vice-President 

Mrs. Rudolph Blankenburg Miss Nina Lea 

Secretary Treasurer 

Miss M. S. Hinchman Mrs. Joseph F. Sinnott 

Mrs. Edwin Swift Balch Miss Cornelia L. Ewing Mrs. Arthur V. Meigs 

Miss Louise W. Bodine Mrs. W. D. Frishmuth Mrs. James Mifflin 

Mrs. Jasper Yeates Brinton Mrs. W. W. Gibbs Mrs. Francis F. Milne 

Mrs. John H. Brinton Mrs. Henry S. Grove Miss Elizabeth C. Roberts 

Mrs. William T. Carter Mrs. C. Leland Harrison Miss Mary E. Sinnott 

Miss Margaret Clyde Mrs. John Harrison Mrs. C. Shillard Smith 

Miss Margaret L. Corlies Mrs. F. K. Hipple Mrs. Cornelius Stevenson 

Miss Ada M. Crozer Mrs. J. L. Ketterlinus Mrs. Edward T. Stotesbury 

Mrs. David E. Dallam Mrs. George G. M. Large Mrs. Charlemagne Tower 

Mrs. Rodman B. Ellison Mrs. Howard Longstreth Mrs. William H. Walbaum 

Countess Santa Eulalia Miss Fannie S. Magee Mrs. John Wister 

Mrs. Jones Wister 

HONORARY MEMBER 

Mrs. M. Hampton Todd 



I